Ahmad Jamal - Rhapsody

 

Effend!

Rhapsody

Ahmad Jamal With Strings

String Arrangements: Joseph Kennedy

Production & Supervisor: Ahmad Jamal and Dick LaPalm

Cover Photo: Three Lions

Cover Design: Michael Reid Design

Engineer: Tommy Nola

Recorded: Nola Studios, New York City, December 15, 16 & 17, 1965

Cadet 764

From the back cover: A side from being an avid music enthusiast, I am also a rabid sports enthusiast. Recently, I had a professional basketball player friend of mine describe one of the super-stars of the National Basketball Association by saying, "Man, he can do it all". Sitting here and listen gin to this new Ahmad Jamal album it occurs to me that Jamal is a super-star because he can certainly "do it all".

In thi day of over-emphasized chic and faddism, Ahmad Jamal has obviously chosen a very hazardous musical philosophy to espouse. His music is authentic; it's mature' it's uncompromising. Today, the rainbow's pot of gold seems to lie either with the music that is so elementary that practically all who chose to can relate to it, or with something so completely bewildering, if not necessarily musical, that the public is intimidated into accepting it for fear of being called unhip. Yes, I do mean intimidated! The Johnny-Come-Latelys who represent a large part of the audience haven't had suufficient time or exposure to the music to evolve their own unshakeable point of view, and an, as a result, they are very easily intimidated into companioning something about which they know or feel very little. I don't mean to embark on a diatribe against the low state of appreciation of the listening public; all of this is pertinent to Ahmad Jamal and his particular brand of music. and I use the word particular advisedly.

As with ask dedicated artists, Jamal has continued to grow to refine, to distill, so that his offerings represent, with each subsequent hearing, a further exploration, a striving if you would, for that ultimate expression. You can hear it in his economy, the placement of the right notes at the right places. This, to me, has always been the sign of maturity in any artist; the mastery of knowing what to leave out. Jamal's use of space and time are incredibly effective. Still, when it is felt to be dictated, his facility, technique and dynamics are superb. The inference can even be drawn from the program material on this album that Ahmad is striving to provide a full range of entertainment, witness his choice of selections, the varying temps and the different contexts.

I think it is sage to say that it has never been Ahmad Jamal and a rhythm section. Always the well-meshed group feeling has prevailed in his music. For this album, too mush cannot be said about the efforts of Jamil Nasser on bass and Vernel Fournier on drums. Ahmad is a strict disciplinarian, a veritable martinet. This passion for getting things done the best possible way he imposes not only on himself, but on his sidemen, the engineers the A&R man, practically anyone who has anything to do with delivering the finest possible finished product. Very often this kind of rigorous discipline can backfire and cause some static in the proceedings, but not so here. I think it works so well with Jamal because he deals from a quiet kind of strength that breeds inspiration.

I know that Ahmad would be distressed if I didn't wax enthusiastic, perhaps ecstatic, about the extraordinary and as yet unrecognized talent of Joe Kennedy. Joe arranged and conducted the string porting of this album, and what a masterful job he has down. This is another good get-together for Ahmad and Joe, an encore for their Penthouse album of several season ago (Jamal At The Penthouse – Cadet LP-646). And if anyone should know about how strings should sound, Joe Kennedy is eminently qualified because he is one of the finest violin players on the scene. On the off-chance that someone with authority from  Westinghouse is reading this, Joe's original, You Can Be Sure, would make a great theme for one, off not all, of your programs.

Musical dissection, tune by tune, has become passé on liner notes, I believe. After all, what do you care which is my favorite track on the album. Actually, this  one of those "once in too great a while" albums where I don't have a favorite. I would say that this album is as strong an argument that I could present for the premise that good music will prevail. It will prevail in spite of all who, for whatever the reason, pander. If I may cap on the title of Joe Kennedy's original, when you lay down  your money for an Ahmad Jamal album, past,  present, or future... You Can Be Sure. – Mort Vega

From Billboard - May 21, 1966: Ahmad Jamal, with his combo and backing from a 15-piece string orchestra, produces mood music with soul. His restrained and sophisticate treatment of "I Hear A Rhapsody," "This Could Be The Start Of Something New" and "Shadow Of Your Smile" which should register well.

I Hear A Rhapsody

This Could Be The Start Of Something

Then I'll Be Tired Of You

Effendi

Invitation

The Shadow Of Your Smile (Love Theme from The Sandpiper)

Strange

You Can Be Sure

Concern